Review - Peter and the Starcatcher (Royal and Derngate, Northampton)

Rick Elice's kooky Tony Award winning Peter Pan prequel, set in the Victorian era, introduces Pan fans to Molly Aster, a 13 year old apprentice Starcatcher who runs into a trio of mischievous but lovable orphans on board a ship called The Neverland. When pirates attack and Molly's father is kidnapped, Molly and the boys gang up and embark on a fantastically outlandish adventure together! 

The company of Peter and the Starcatcher
Photo credit - Manuel Harlan

Although it does take a little while to find its feet, Peter and the Starcatcher is ultimately a fun piece of theatre. Elice's script is full of wit and peppered with references to J.M Barrie's classic text, and the cast really savour each of the multiple characters they are required to play throughout the show. Greg Haiste's dastardly Black Stache is a total scene stealer who chews the scenery like nobody's business and stops the show multiple times with his hilarious and gleefully malevolent line delivery. Evelyn Hoskins' intrepid Molly Aster is tenacious and likable, while Peter is played with great depth by Michael Shea, especially in act two when the character really comes into his own. The rest of the cast is fantastic, and portray a multitude of delightful characters with precision and clarity. 

The world which the characters inhabit is brought to life on a fairly empty stage, with ropes hanging from the ceiling and a large loading door at the back. Scenery is creatively formed out of random objects, such as green umbrellas which represent a forest, and an assortment of doors, frames and ropes which come together to create the belly of a ship. Additionally, the iconic Neverland crocodile's jaws are made out of a step ladder, while birds are fashioned out of feather dusters. David Woodhead's set design is resourceful and its playfulness echoes the themes of childhood and freedom which the play touches heavily on. Meanwhile, evocative lighting design by Howard Hudson gives the piece a magical, mystical feel. 

While the production feels deliberately rough around the edges, Luke Sheppard's direction is slick, ensuring that despite the constant multirolling, somewhat dense dialogue, and inventive use of props which often require imagination to reach their fullest effect, the plot is almost never muddied or unfocused. The whole play feels fluid and inevitable, thanks to sharp and clever scene transitions involving lots of physical theatre. As such, the audience is swept along with the story as if they are a part of it. 

At times though Peter and the Starcatcher does seem to lose steam a little, thanks in no small part to a number of innuendos which seem too blatant and shameless for parents to enjoy, and which fly over the head of younger audience members. The piece shines brightest when it is at its broadest, with over the top double act scenes between Black Stache and his first mate Smee, and a particularly bizarre musical number at the top of act two which features a gaggle of serenading mermaids. 

In the season where pantomimes dominate family theatre outings, Peter and the Starcatcher is a quirky alternative. It's a zany, offbeat escapade which feels fresh and revels in its outlandishness before delivering a poignant and sentimental conclusion. Family theatre doesn't get much more magical!

Review - In The Heights

Lin-Manuel Miranda really is the man of the moment. His hugely hyped new musical Hamilton is currently making waves on Broadway, while over here in London his Tony Award winning musical In The Heights (music and lyrics by Lin Manual-Miranda, book by Quiara Alegría Hudes), last seen at the Southwalk playhouse in 2014 has just been revived at the Kings Cross Theatre.

Having missed out on the show during its initial run, and subsequently hearing it praised nonstop I was desperate to experience it for myself, and so as soon as tickets went on sale in September I grabbed one, and I've been looking forward to it ever since.

Incredibly, In The Heights not only lived up to, but in my opinion exceed the hype surrounding it. Reminiscent of Rent in several ways but at the same time markedly different, the show is largely an ensemble piece, following the lives of the inhabitants of Washington Heights during a summer heatwave. There are enough ups and downs, loves and losses to keep you engaged throughout the show, and although there are quite a few characters, each one is fleshed out and likable enough that you’ll have no trouble following every story line. Especially thanks to Luke Sheppard's tight direction. 

From the moment the first actor entered the stage I was captivated. The connection between actors and audience was unlike any I’ve experienced before. I felt as if I was a part of the action onstage, and by the end of the show it was as if I knew each of the characters personally. This was, in no small way, due to the mesmerising and endearing performance of Sam Mackay as the show’s main protagonist Usnavi. He had the audience in the palm of his hand from the moment he opened his mouth, and he sang and rapped with a charismatic flair which was a joy to watch.  Similarly, Lily Frazer as Stanford student Nina was sensational, with enviable costumes (by Gabriella Slade) and an even more enviable voice! As her parents Kevin and Camilla, David Badella and Josie Benson were a vocal team to be reckoned with, while Victoria Hamilton-Barritt stole almost every scene she was in as gossipy salon owner Daniela! The energy and talent displayed by every single cast member was just entrancing!

I was also wowed by the set design, and way the space in general was transformed. Having seen The Railway Children which is still running in rep with In The Heights at the moment, the two shows set ups couldn’t be more different. Before I even entered the theatre I was met with the sounds of atmospheric music playing, evoking thoughts of NYC, while graffiti murals and posters helped to set the scene brilliantly. Upon entering the theatre (a significantly smaller seating area than that used on The railway Children) I was impressed with how detailed and vibrant the set design was, and particularly enjoyed the use of two large movable ladders which were used to create height or signify a change in location, and were even incorporated into the shows choreography at several points.

On the subject of choreography, Drew McOnie’s movement and dance pieces were a joy to watch, adding flair to the show's already buzzing atmosphere. But it was the music that I found particularly stunning. Prior to seeing the show I was cautious about how much I’d enjoy the hiphop and rap influences of the music, as normally this kind of music would not appeal to me. However, in the case of the music of In The Heights, I was stunned. It was brilliantly catchy and so clever, the cast’s enthusiasm was infectious, and I was frequently left grinning. In fact, the title song has been stuck in my head ever since! But there were also genuinely haunting, gut wrenching moments will leave you breathless, and perhaps a little teary!

If you missed this show at the Southwalk Playhouse like I did, do not hesitate to get yourself a ticket now. The intelligent lyrics, hummable tunes, heart stopping choreography and energetic cast were faultless, and to miss out on such an exciting production is a definitely no-no! Do yourself a favour and get yourself down to the Kings Cross Theatre as soon as possible, because I have a feeling the infectious buzz surrounding the show will make In The Heights one of THE must-see productions of this autumn! 

In The Heights is currently running at the Kings Cross Theatre until 10th April 2016...  

To find out more details about In The Heights' extension, and for other theatre related news, visit London Theatre 1's website...